Winter (Nix) Makoff is a Chicago based Jewish textiles artist and illustrator. They’re interested in learning fiber arts techniques from across the world and using that as a bouncing off board to research the cultures that techniques originate, with a special interest in the practices of diasporic Jewish communities.

instagram at @winteringjudaica

winteringjudaica.com

The Ease of Green

Lydia Harder is a sculptor and textile artist currently living and working in Chicago, IL. Her work takes root in the investigation into the ritual elements and semiotics of domestic culture and dress. Often taking the form of a button up, a quilt, an everyday item; her work strives to seek out the histories that form these objects as well as the functions that turn them into symbols of beauty and culture both on a micro and macro scale. Utilizing practices of sewing, weaving, dyeing, sound, and image creation she is able to draw attention to the foundational as well as sentimental nature of objecthood and its link with living memory.

lydiaharder.com

To Leave a Mark, to Share a Memory

Camilla is a fiber artist expecting to receive her BFA in 2025 from SAIC. She explores the relationships between people and between people and the environment with practices of reuse that acknowledge and work with materiality. Her processes of material collection and manipulation discuss grief, loss, love, and restoration. 

Some of Camilla’s work can be found here: @cam_wson.art on Instagram.

SCRAPWORK, LABOR, ENVIRONMENTALISM & REVOLUTION: Selected Traditions of Reuse in Japan and Korea

Lily Lloyd Burkhalter is a French-American writer. She learned to sew in Cameroon and to weave in Chicago. Her poetry, essays, and fiction have been published or are forthcoming in Ploughshares, DIAGRAM, The Collagist, and elsewhere. She is working on an essay collection and a novel that explore the intersection of text and textiles. 

Kasai Velvets from the Kingdom of Kuba 

Margaret Dugger is an artist from North Carolina currently based in Chicago. She is currently pursuing her undergraduate degree at SAIC, usually working in the Fiber and Material Studies department. Using weaving and needlework, she explores themes of absence, loss, and the everyday experiences. Originally trained as a professional hand-weaver, this class offered a lot of excitement in the opportunity to learn from a community of textiles from all over the world. 

Following the Thread Lines 

Lydia Abigail Mudge is an undergraduate student in their senior year at the School of the Arts Institute of Chicago. They specialize in textiles with a heavy emphasis on knitting, spinning and tapestry weaving. They hope to use these skills in their post graduation exploration of historic textile research and recreation through experimental archaeology.  They are currently in the application process for a Fulbright grant with which they intend to travel to Norway to research their rich textile history. When not engaging with the historical aspects of fiber, they create protest pieces concerning environmental destruction, mistreatment of Indigenous Peoples, Black Lives Matter, reproductive rights, and the LGBTQIA+ community. Outside of fiber, their interests include writing fiction and communal storytelling with their friends using the tabletop role playing game Dungeons and Dragons. 

Following the Threads: Finding the Culture of Origin by Analyzing Motif and Form

Lee Miko Romero is an interdisciplinary artist from the Bay Area, living and working in Chicago, Illinois. Their work emerges from a drawing practice centered on depictions of animal behavior and knotted forms as personal reflections on connection and transformation. Through repetition of threads, tangles, and molting creatures, melding masses become netted blankets of comfort and protection. Considering knots and their utility, as well as cultural significance and symbolism. Thinking of tangles as a result of neglect or failure, as well as something that can be undone and transformed. 

leemikoromero.com

Knots, Tangles, and the Ways We Make Connections 

Erin Sugg is a Chicago-based visual artist primarily working in fiber art, specifically quilting and soft sculpture. Much of her work is inspired by rocks and the geometry of nature, leading her to explore hardness through softness. Sustainability is important to her work. All fabrics she uses are second-hand, either donated by friends and family or purchased from strangers. She is currently a third-year undergraduate studying Fiber and Material Studies at the School of the Art Institute of Chicago. She intends to pursue a pathway to a  career in textile conservation after graduation. This summer, she is excited to be completing a curatorial internship in collections care at the Naper Settlement in Naperville, IL.

https://erinsugg.weebly.com/ 

Khayamiya:  More Than Canvas

Textured Thinking: Fiber Renderings of Spaces 

Sitong Yin is an interdisciplinary visual artist, rooted in fiber & textile but also exploring and cooperating with videos, performances and installations. Her works draw inspiration from natural materials and phenomenons, inviting and translating elements like texture and landscape in her arts to explore the ambiguous and poetic space in-between endless searching for meanings and nihilism. Her works are also inspired by Chinese landscape painting and Chinese classical philosophies. 

Sitong is from Shenzhen, China. She currently lives and works in Chicago, Illinois, as a MFA candidate in the Fiber & Material Studies Program of the School of the Art institute of Chicago. 

https://www.yinsitongarts.com

Du-jinsheng Brocade: Weaving the Modern Chinese History 

Rivers Qinnan Zhu is a visual artist whose works include textile techniques such as weaving and lace-making, as also drawing, sculptures, and other mix-media. She values patient slow-process in craft, the presence of sustainability; and confronts issues in her personal silenced family history. Over the last two years, her current studio practice has been exploring the sense of displacement of her family and floating identity through zooming and subverting everyday life objects and moments.

Rivers was born in Hangzhou, China, and came to the United States to pursue her education at 15 years old. She currently lives and works in Chicago, IL, with her two kids(cats), ChowChow Zhu and KnowKnow Ossie Zhu. She is an MFA candidate in Fiber & Material Studies at the School of the Art Institute of Chicago. 

Jackie Andres is a Chicago-based fiber artist and filmmaker. She explores the relationships between collection, documentation, and material culture. Her artwork embraces the presence of hand by using tactile and repetitive analog processes such as screen printing, sewing, and analog film montage. Jackie studies at the School of the Art Institute of Chicago, where she will receive her BFA in 2022.

 www.jackieandres.com

Piña Fiber and the Barong Tagalog: Recontextualizing Nationalism and Refashioning Identities

My name is Royce Cottingham and I’m an undergraduate student at the School of the Art Institute of Chicago. I’m a fourth year and will be graduating with a BFA in textiles. The past two and half years at this school I have worked almost exclusively in the Fibers and Material Studies department. I was introduced to the heat press my second semester of my sophomore year and became obsessed with it. It’s a quick process to get your painted image onto fabric as well as aesthetically very pleasing–– producing wonderful variations of color.

Painting on Fabric with the Heat Press

Sofia is a visual artist from Mexico City, based in Chicago. 

Her work is composed primarily about process and experimentation, about accentuating the unperceivable by amplifying the sensorial. Constantly looking for new tactilities through materials like beeswax, natural fibers, found objects, and glass. In 2016 she lived with the community of woman weavers Jiñi Ñuu of San Juan Colorado in the Oaxaca Mixteca where she documented their process and daily rituals while investigating Zapotec roots. Sofia’s work has evolved through a decade of intimate investigation in which she seeks to honor prehistorical processes, symbolisms and the historial cosmologies of the lands she moves through. She pays homage to material, nature and cultural relationships of the past and present.

www.sofiafernandezdiaz.com

Woman Weaver Warriors and The Backstrap Loom

Delaina is a visual artist studying at the School of the Art Institute of Chicago. Her work explores pattern, femininity, collage and textiles. Most recently she has been making work around femininity and coming of age in evangelicalism/purity culture. She draws inspiration from daily walks, her lived experience growing up in the rural Midwest, and collecting objects and stories. 

She lives in Chicago with her husband and their dog, Oskee. 

www.delainadoshi.com

Sari Stories: Exploring the Culture of My New Family Through Textile Research

Lily Homer (b. Chicago) is a multi-media artist exploring issues of disillusionment, contradiction, Jewish diaspora, and absurdity. She uses embroidery, welding, lacemaking, animation, collage, and crochet to create models of potential space, which oscillate between representational and experiential, between line and form. Homer brings her family history of craftsmanship, such as textiles, jewelry, and furniture manufacturing, into her work. Through fibrous, pliable materials like thread, steel wire, rope, and fabric, she develops a visual language for her own experiences with anxiety, irrationality, and hope.

www.lilyhomer.com

Yixin (Abi) Li is a student at the School of the Art Institute of Chicago where she focuses on fiber and material studies, and Jacquard weaving. She is interested in making compositions with material and cultural content. In her Jacquard works, she is interested in the digital flux, noise and the obscurity of digital vs. analog communication. For her, making work is about updating her state of mind and emotions by putting them into a physical form of existence.

Ambiguity, Fuzziness and Haziness: The Quietness of Bast Fiber ––  a Humble Material with Lots to Say

Kate Morrick is a visual artist and writer based out of Chicago, Illinois.  She is currently an M.F.A. candidate in the Fiber and Material Studies Department at the School of the Art Institute of Chicago where she attends as a recipient of the New Artist Society Scholarship award.  She received her B.S. in Textile and Apparel Design from the University of Wisconsin-Madison and A.A.S. in Textile Development and Marketing from the Fashion Institute of Technology.  She has held numerous roles in Fabric Research and Development for prominent fashion houses in New York City specializing in sustainable and artisanal production.  Her work explores epistemological and ontological questioning pertaining to psychological affect within the context of late-capitalism and the postmodern era.  Through non-woven textile techniques like paper-making, felting, and bonding, her work manifests itself in sculpture, print, and installation as she attempts to reify obscure affective amalgamations as concrete sites for communal problem solving and healing. 

www.katemorrick.com

Cultivating White Clouds: Felt Mantle, Afghanistan 

Ximena Villalobos Mares is an undergraduate soon to receive her Bachelor of Fine Arts degree with a concentration in the Fiber and Material Studies from the Art Institute of Chicago. She is interested in the history and the technique of dying as well as fiber objects of cultural identity. 

Oh, I can do that–that’s easy! How I attempted to remake a cultural garment with years of history in a month.

Carina Yepez is a native of Chicago and has family roots in Guanajuato, Mexico. She holds an MFA in Fiber and Material Studies from the School of the Art Institute. Currently, she works as a program specialist at Firebird Community Arts and teaches as an adjunct professor in the FMS department at SAIC. In her artistic practice, Carina explores matriarchy and the quilted narrative of Chicago migrants. She uses sewing to craft family stories, with a heart focused on healing ancestral narratives. She honors her culture through floral patterns in her quilts and weavings, creating unique pieces that express her vision while honoring her heritage.

www.carinayepez.com

QUECHQUéMITL (La Mañanita): A pre-cuauhtémoc symbol of resistance from ancient to modern times

RECYCLING & RESETTLEMENT: Fabric Collage as an Aid to Healing

Alson Zhao (School of the Art Institute of Chicago, BFA 2021) is from Yunnan, China. Finding inspiration from structures, production and patterns of textiles, poetry and mythology, he experiments by interlacing the two mediums of printmaking and experimental film in his recent work.

Every Mola is a Word

Lisa Ackerman is associate conservator in the Objects Conservation Department at the Art Institute of Chicago where she is focused on wooden architectural elements, furniture, and decorative arts. She joined the Art Institute as a two year project conservator, restoring a late 17th century Grinling Gibbons overmantle from the Great House in Cassiobury Park, Hertfordshire, England  and has stayed on permanently. 

She previously spent 3 years at the Metropolitan Museum of Art in New York City working on a wooden staircase from the same house, other wooden architectural elements and objects for the renovation of the British Galleries. Lisa received her M.A./C.A.S. in Art Conservation from SUNY Buffalo State University with a specialization in objects and a focus on furniture, frames and wooden artifacts, and associated materials. She also completed the ICCROM International Course on Wood Conservation Technology in Oslo, Norway. Lisa has held internships at The Met, The Baltimore Museum of Art, and the Brooklyn Museum. She has been employed by The Met, the Smithsonian Museum of African American History and Culture in Washington, D.C., Fine Wood Conservation in Brooklyn, N.Y., and Period Furniture Conservation in Jersey City, N.J.

• Overmantel and Cornice from Great House in Cassiobury Park, Hertfordshire - Gallery 21

• Lecture: Conservation of Grinling Gibbons’s Carved Limewood Overmantel

• CabinetDate: About 1640  Artist: Augsburg, Germany

• RLC Presents: Art + Science Videos and Curricula

• In the Lab: UV Investigations, Objects conservator Lisa Ackerman demonstrates how museum scientists use ultraviolet light to investigate works of art beyond what the human eye can see. In the Lab: UV Investigations | RLC Presents: Art + Science

• A Third Time Around for Two Carousel Horses

• Giorgi Family Foundation Curatorial Fellow at Art Institute of Chicago

María Dávila and Eduardo Portillo are artists who use fiber as their main medium of expression. Their work revolves around the interconnectedness of their experiences with people, places, and landscapes, as well as the materials and processes that bear the imprint of their searches. Their educations in China and India have been crucial for their approach to their work that has been exhibited internationally.

Their work is part of public and private collections worldwide, including the Whitworth Art Gallery, UK; Longhouse Reserve, NY; the Cooper Hewitt; Smithsonian Design Museum, NY; the Toledo Museum of Art, OH; and the Art Institute of Chicago. They received the Smithsonian Artist Research Fellowship in 2017. In recent years they have been working on an imagined cosmos that they found in the mountains of Mérida, a part of the Venezuelan Andes, where they live. 

• Artist Talk: María Dávila and Eduardo Portillo—Weaving a World

• BrownGrotta 

Dr. Maggie D’Aversa is a textile & materials engineer, weaver and social scientist. She spent the first 30 years of her career in the research and development of high functioning industrial and medical textiles in the US and China. Maggie continues to study and evaluate the fundamental mechanisms of textile behavior through experimentation on linear structures where changes in cross section, packing capabilities and surface treatment play enabling roles. In addition Maggie studies those conditions that create and sustain marginalized populations using similar principles from her physical science career.

• maggiedaversa.com

Anna Dumont is an art historian whose research examines the art and craft of textiles in nineteenth and twentieth century Italy, from lacemaking to Futurist textiles to fascist textile policy. Her work is particularly concerned with histories of labor in European avant gardes, and with historiographic problems of biography and gender. She received a Venetian Research Grant from the Gladys Krieble Delmas Foundation and was the 2020–21 Lily Auchincloss Rome Prize Fellow in Modern Italian Studies at the American Academy in Rome. She earned her BA in Comparative Religion from the University of Rochester (2014) and completed her PhD in Art History at Northwestern University (2025). She has also been a COSI Research Fellow (Textiles) with The Chicago Objects Study Initiative, a collaboration between the Art Institute of Chicago and Northwestern University supported by an Andrew W. Mellon Foundation grant.

• • Red-Handed: Exposing Renaissance Velvet Workshop Practices

Katherine (Watson) Andereck is the Collection Manager in the Department of Textiles at the Art Institute of Chicago, where she oversees the care, stewardship, and organization of one of the nation’s leading textile collections. Before joining the Art Institute, she held multiple roles within the Smithsonian Institution’s National Air and Space Museum, including Museum Specialist and Team Lead for the Garber Facility’s Small Artifact Collection Move. Her work as a lead contractor and collections move specialist contributed to the successful relocation and preservation of thousands of historical artifacts.

Andereck holds a Master’s degree in Museum Studies from The George Washington University and a Bachelor’s degree in History from Wake Forest University. Her career reflects a deep commitment to collections care, preservation, and advancing best practices in museum stewardship.

Isaac specializes in the care, preservation, and study of textiles as Associate Conservator at the Art Institute of Chicago. He is also a Senior Lecturer in Fiber and Material Studies at the School of the Art Institute of Chicago, where he integrates his research-based practice, focusing on technology, mechanics, and production, with a particular expertise in 3D woven structures. Isaac's training spans textiles, textile conservation, studio art, material science and technology, with studies conducted in Chicago, Manchester (England), and Paris (France). From 2022 to 2024, he served as President of the Board of Directors of the Textile Society of America. Isaac is co-curating in the exhibition On Loss and Absence: Textiles of Mourning and Survival, in the Textile Galleries at the Art Institute of Chicago on view from 6 September 2025 through 15 March 2026.

• On Loss and Absence: Textiles of Mourning and Survival

• Publication, Yale University Press | On Loss and Absence: Textiles of Mourning and Survival | Edited by Isaac Facio, Nneka Kai, L Vinebaum and Anne Wilson | Video Intro | Museum Shop

• Exploring Textiles Conservation | On Loss and Absence

Anatomy series:

• Anatomy of a White Dwarf: On Life, Home, and Weaving

• Facio, I., “Anatomy of Memory: The Materiality and Structure of Igshaan Adams’s Upheaved,” in : Folkerts Hendrik, Lynne Cooke, Isaac Facio, Joshua Lee Ginsburg, Muhsin Hendricks, Eusebius McKaiser, Kathryn Smith, Ocean Vuong , Arnisa Zeqo and Igshaan Adams. Igshaan Adams : Desire Lines First ed. Chicago IL: Art Institute of Chicago. Pp.78-85. 2022.

In the Lab: Under the Microscope

• In the Lab: Under the Microscope | RLC Presents: Art + Science

• Red-Handed: Exposing Renaissance Velvet Workshop Practices

• Hidden Care: Four Stories of Patience and Repair

Fabric of the Universe project

Neutrino project: FermiLab

Textile Society of America

Kathleen Kiefer is Head of Textiles Conservation at the Art Institute of Chicago. She is former Senior Textiles  Conservator at the Indianapolis Museum of Art, a textile conservator and Interim Director Winterthur/ University of Delaware Program in Art Conservation. We will have an introduction to textile conservation and collections care at the Art Institute. 

• Material Culture Conservation, LLC

Ai Kijima is a Tokyo-born artist currently living in Brooklyn. Her distinctive works are chaotic collages, amalgamations of found material painstakingly stitched into evocative cross-cultural patchworks. She is a graduate of SAIC receding both a BFA 2002 and MFA 2005. 

Aikijima.com

RECYCLING & RESETTLEMENT: Fabric Collage as an Aid to Healing

Dr. Etty Indriati is a forensic anthropologist, creative writer and a specialist on Indonesian textiles of Sumba. We will learn about her collection of batik and woven textiles and her current research on technique, meaning, and context.  

Tatler

The Jakarta Post - 'These are our symbols': Author champions Sumba's woven fabrics

Lindsay Olson is a textile artist working in the realm of science communication. Lindsay will conduct a workshop on expressive stitch and she will share her research methodologies in multi-disciplinary collaborative projects.

• lindsayolsonart.com

Janet Marion Purdy is associate curator in textiles at the Art Institute of Chicago. Her multisited global research examines Afro-Arab-Asian visual relationships in textiles, metalwork, and architecture as artistic and cultural exchange across Africa, Southwest and Central Asia, and the Indian Ocean world. She received her PhD in the historical arts and architecture of Africa from the Pennsylvania State University and was a Fulbright Scholar in Zanzibar, Tanzania, 2018–19. Purdy is visiting lecturer in African art history at the University of Chicago and research-curatorial consultant for Qatar Museums, including the Qatar Pavilion at Venice Biennale Architettura 2025. 

Exhibitions include the upcoming Embroidered Traditions from Morocco to Afghanistan (2026–27) and the special exhibition East African Beadwork (2024–25), both at the Art Institute of Chicago; African Brilliance: A Diplomat’s Sixty Years of Collecting (co-curator), Palmer Museum of Art (2020); and At Home In Africa: Design, Beauty, and Pleasing Irregularity in Domestic Settings (assistant curator), Galleries at Cleveland State University (2014). Select publications include: “The Great Mosque of Kilwa: An Architectural Lodestone,” The Routledge Companion to Global Renaissance Art, 2024; “By Royal Command: Ndop Display Cloths of the Cameroon Grassfields,” Hali Magazine, 2025; and “Carved Doors as Afro-Arab-Asian Congruence,” Monsoon: Journal of the Indian Ocean Rim, 2025.

• Small Wonders

• Air as Sustenance: Four Artworks That Celebrate Breath

• Carved Doors as Historical Documents in Zanzibar, Oman, and Beyond by Janet M. Purdy, PhD. | The IASA

• Lecture: Beads That Speak—Unraveling the Stories Woven into the Arts of Eastern Africa | The Art Institute of Chicago

Elizabeth Pope has been with the Art Institute of Chicago since 2005 and currently serves as the senior research associate with the Arts of the Americas and Textiles departments. Trained as an art historian, anthropologist, and archaeologist, she specializes in ancient Mesoamerican art, architecture, and ritual performance with a particular focus on the cosmology of the ancient Maya. Notable projects include contributions to the Indian Arts of the Americas at the Art Institute of Chicago (2016) collection catalogue, co-curator of the 2018 exhibition Super/Natural: Textiles of the Andes; and selected as the 2019–20 Archaeological Institute of America, R.S. Webster Lectureship.

She holds a PhD in art and art history from the University of Texas at Austin; an MA in archaeological studies from Yale University; and a BA in cross cultural studies from Colgate University.

• Four Paintings by Grandma Moses

• Unleashed: Dogs in Art

• Egyptomania in France

• Kinds of Blue

• Small Wonders

• Hidden Care: Four Stories of Patience and Repair

• Chicago Humanities: Animals in Ancient Andean Art

• Aztec Coronation Stone | The Art Institute of Chicago | Art Institute Essentials Tour

• Indian Art of the Americas at the Art Institute of Chicago, 2016

• Ballplayers, Gods, and Rainmaker Kings: Masterpieces from Ancient Mexico, 2010 

• Co-curator: Super/Natural Textiles of the Andes exhibition

María Cristina Rivera Ramos is assistant conservator of paper in Conservation and Science at the Art Institute of Chicago. Since joining the museum in 2016, she has cared for its broad range of paper-based artworks, with a special emphasis on the Arts of Asia and Architecture and Design. She has worked on several exhibitions at the Art Institute, including Paula Modersohn-Becker: I am Me (2024), Lygia Pape: Tecelares (2023), and Senju’s “Waterfall” for Chicago (2021). She is currently performing conservation treatments on architectural drawings for an upcoming retrospective focused on Bruce Goff. 

Prior to this she held pre-program positions in paintings and paper conservation at the Museo de Arte de Ponce and completed internships at the Victoria and Albert Museum, the Los Angeles County Museum of Art, the Museo Nacional de Bellas Artes in La Habana, and the Centro Nacional de Conservación y Restauración in Santiago. She received her formal training in conservation at Buffalo State University, where she specialized in works of art on paper. María Cristina also holds a BS in chemical engineering with a minor in art theory, and an MA in cultural agency and administration from the University of Puerto Rico.

• In the Lab: Preserving the Rabbit’s Frolic

• The Subtle Power of Paper: Conserving Paula Modersohn-Becker

Cybele Tom is a PhD student in Art History at the University of Chicago. Cybele is interested in the trajectories of aging and obsolescence of objects, namely their immaterial and functional aspects. Her studies explore analogies between work from the medieval and contemporary eras. Prior to entering the doctoral program, Cybele worked as an objects conservator at the Art Institute of Chicago for several years, specializing in the technical examination and care of polychrome sculpture. She has an MA from the Conservation Center of the Institute of Fine Arts, New York University.

• A Life Beyond A Sculpture And Its Progeny

• The Secrets of a Mummy Emerge

• The Binders that Tie Proteins in Paint

• Conservation the Dilemma of Extending Life

• Playing Favorites: Finding Meaning in a Medieval Reliquary with Cybele Tom

• Sharing Space Here and Now

Dr. Giovanni Verri has been a conservation scientist in the Department of Conservation and Science since 2019. He holds a PhD in physics from the University of Ferrara, Italy, and MA in conservation of wall paintings from the Courtauld Institute of Art in London, UK. 

His research interests include the development and application of investigative techniques for the analysis of color. In 2007, he developed an imaging technique called visible-induced luminescence imaging, through which it is possible to map the presence of Egyptian blue, a very commonly used blue pigment in antiquity, even when otherwise invisible to the naked eye. This has led to interesting discoveries about the use of color in antiquity and beyond, including how blue was used in the skin tones of the mummy portraits at the Art Institute.

• The Goddess’ New Clothes: the Carving and Polychromy of the Parthenon Sculptures

• Roman Sculpture and Colour: the "Treu Head" (Ancient Greek and Roman Color / Polychromy)

• Kinds of Blue

Melinda Watt  leads the Art Institute’s Textiles department as Chair and Christa C. Mayer Thurman Curator, a role she assumed upon joining the museum in 2018. She will serve as curator for the 2021 exhibition Morris & Co.: The Business of Beauty and 2022’s Fabricating Fashion: Textiles for Dress, 1700–1825.

Before joining the Art Institute, Watt was curator of European textiles and supervising curator of the Antonio Ratti Textile Center at The Metropolitan Museum of Art, New York. In 2017 she was awarded a professional exchange grant from the Trust for Mutual Understanding, and in 2008 she received the R. L. Shep Ethnic Textiles Book Award for co-authoring and co-editing English Embroidery from The Metropolitan Museum of Art, 1580–1700: ‘Twixt Art and Nature.  She holds a master of arts in costume studies from New York University.

• May Morris: Designer and Advocate

• Muslin Like “Woven Air”: Indian Textiles in Fabricating Fashion

• Another Side to Gio Swaby

• The Alchemy of Weaving

• Virtual Member Lecture: Morris and Company—The Business of Beauty | January 27, 2022

• Virtual Conversation: Arts, Crafts, and the Morris & Co. Aesthetic | March 10, 2022

• Lecture: Fabricating Fashion |The Art Institute of Chicago

• TEXTILE TALK: Gio Swaby: Fresh Up at the Art Institute of Chicago, presented by SAQA

• English Embroidery From the Metropolitan Museum of Art, 1580-1700: 'Twixt Art and Nature

• Interwoven Globe: The Worldwide Textile Trade, 1500–1800 | Peck, Amelia, with contributions by Amy Bogansky, Joyce Denney, John Guy, Maria João Pacheco Ferrerira, Elena Phipps, Marika Sardar, Cynthia V. A. Schaffner, Kristen Stewart, and Melinda Watt, 2013